FM243
This bass-fingering Frenchmen has become one of the most reliable remixers in Pop. With his unique blend of French Touch and Indie, he’s created floorfillers for diverse artists from Erlend Øye to Katy Perry
Cool, casual and modest, Fred Falke began his career as a bass player until collaboration with Alan Braxe resulted in the club smash Intro/Running. Further releases followed and Fred’s interest in production spiralled into a large collection of classic synthesizers, outboard and an impressive studio. Now he’s a solo producer, remixer and writer in his own right, occasionally working alongside UK hit makers Xenomania and the biggest Pop acts in the world. Based in Toulouse, France, Fred’s studio is a sixth-floor apartment, with a balcony and one of the sunniest studio settings we’ve seen.
Previously his home as well as his studio, Falke’s success has enabled him to move his accommodation up to another apartment on the 10th floor of the same building, leaving plenty of room for a kick-ass synth collection. Walking in to the studio the first thing you see is the mint condition Yamaha CS-80, Falke’s pride and joy.
To the left, more synths are stacked alongside a small collection of bass guitars, while at the front of the studio Falke has begun to amass some serious bits of outboard. After a quick cold dring and a play on the CS-80 we get to the serious business and find out just how Falke’s career has grown, and what the future holds for him.
Q: You started in this business as a bass player?
A: “I Started as a bass player and I was aiming my career at being a first-call session player really. I started here in Toulouse playing in Jazz bands. I met a friend who was a saxophone player and he told me he was going to move to Hong Kong to work. While he was there he wrote me a letter – there was no internet then, God I’m old [laughs]. Anyway, he wrote me a letter to tell me there was a lot of opportunities for session work over in Hong Kong. So I moved to Hong Kong and over there I was playing all the time. I mean, I’d just left school and as a bass player I was at the top of my technical ability. Jazz artists from the US would tour without their band, and just use the local musicians in Hong Kong, so I really got the opportunity to play with some amazing people.
“Then, I started to record some demos and such for singers in Hong Kong. This was really the first time I was in the studio and I really wanted to learn the process and became really interested in recording, the console, outboard etc. Before that, my knowledge of recording really ended at the end of the lead from my bass guitar
“When I moved back to France I bought myself a Tascam Portastudio, Roland [TR-]606 drum machine and the Micromoog synth. I loved all of the Thriller sounds so I really wanted a Moog, but the Micromoog was the only one I could afford at the time. This was really how I started to understand production as I made my own demos. Then I began to meet other people in the area such as Alan Braxe.”
Q: When you met Alan, was he already producing?
A: ”When I met him it was probably just after he did Music Sounds Better With You with Thomas Bangalter and Benjamin Diamond. He was living here in Toulouse at the time, I bumped into him and he said I should come over to his place. I think he was looking for people that played instruments because he had all these machines and equipment.”
Q: When did it feel like you were programming more?
A: ”The change came really naturally for me – I didn’t really notice it. I just began to do more and more programming and recording.”
Q: Were you still doing session work?
A: ”No, not really. The schedule became too crazy. I’d love to do it more but it’s finding the time.”
Q: How did the collaboration work with you and Alan?
A: “It was different because he had the sequencers and drum machines where I could play and had keyboards and instruments. So it was a true collaboration at that time.”
Q: Most Jazz players don’t end up producing and remixing cool, hip acts on the indie club scene…
A: “Yes, but I’m very open-minded when it comes to music. I don’t listen to Jazz any more, and I haven’t really for a long time. But Jazz is one of those things you have to do when you’re learning your instruments, because you lean techniques and lessons about harmony beyond everything else. When you do it, you get the keys to the door that opens to many more things in music – suddenly you are able to do anything with your instrument.
“It was Disco House that really caught my attention because they were sampling Funk and they had these Jazz chords and melodies. The modern Jazz world is very narrow-minded and for me it became so boring because music is endless.”
Q: At first you didn’t have a computer?
A: “Yes, my first sequencer was the MPC60. I actually went to the bank and got a loan to buy the next set of equipment. I got the MPC, a Minimoog, because I wanted one for song long, the Roland S-760 samplers and the [E-mu] SP-1200 that I still have now.
“That was roughly the core stuff and I was recording them to cassette. I actually still have all those cassettes – maybe they’ll sound cool again now? The system just evolved then, it was just a case of experience and money. At that time, you had to know so many machines and learn them. You had to learn how to sequence on different machines, learn how to sync them and get everything working together. Now, if you learn Logic you can use so many synths and effects all from with Logic.”
Q: How did it change things when you got a computer?
A: “Everything became more accessible with the computer. It’s a bit like when I finished my school of music and I was a bit of a monster Jazz freak, but I really didn’t know what to do with all my skills. You end up playing fast and using every technique you know all at the same time. It took me time to learn how to use these skills properly and really make some nice music. I think the computer was the same, because now with the computer you can layer millions of kick drums and millions of effects and tracks. But I think somehow limitations can inspire creativity. Step-by-step, I reintroduced the outboard because initially I only wanted the computer as a multi-track tape machine. I got Logic for that reason and it was amazing and another step for me.”
Q: Did you find yourself programming more once you had the computer?
A: “Yes of course, and the way of making music has evolved that way. Now I think it’s the perfect balance. I’m in Ableton now and I handle the software very fast so I’m sticking with it. Ideas are so quick to get down. I think at the beginning I was into only Logic, then I got Ableton and used that alongside Logic, but now I’m mainly Ableton.
“They are just tools and toys though, not something you have to commit to. You can make a great track with a guitar and a drum machine.”
Q: How was remixing without a computer?
A: “I did one remix without the computer for Kris Menace’s label called Missile Test. He sent me the stems on CD and I had to sample them and chop them in the MPC. It felt easy at the time, but after getting the computer, you suddenly think ‘Oh my God, how did I do it that other way?’
“You went from the ability to have a six-second sample in hardware to the computer with full sampling and editing.”
Q: What was the breakthrough for your solo remixes?
A: “The Golden Cage remix was probably when the phone started ringing and I started to get known for remixing more. I was really happy because the brief for the remix was really open and it came really naturally, so it gave me confidence. I’m not naturally confident and I always worry about it being the best that it can be.”
Q: How was the DJing and live show when it started?
A: “The DJing was hard because I didn’t have any booking agent or management. Then I got this email through MySpace from a guy in Australia asking me to come out and play. I had no idea, but he was really nice and sorted some clubs to play at and I thought, ‘OK, let’s try it.’”
Q: Did you know how to DJ at this point?
A: “No I had to learn. I didn’t want to DJ really, I wanted to get the feeling back of performing and being on that edge where you can miss notes and not just play records. So I met with a friend who was really good at coming up with these live solutions with Ableton Live. We came up with a system with a controller for live and playing bass live.”
Q: Are you running the bass through the club mixer or through Ableton?
A: “I plug the bass into a Radial D.I. then the Duet. I have a record channel open in live for this with EQ, filters and compression. Some tracks I have all the stems so I just mute the bass stem and play, but I have to be aware that the stems have been produced so I’ll sidechain my bass input live and add a bit of EQ and compression.”
Q: Do you record bass loops and re-trigger them?
A: “No, I would need a foot pedal for that to start and stop recording. I’d like to do all that and even start bringing synths too, but it means a bigger suitcase when travelling, which isn’t always possible.”
Q: You’re obviously happy with everything right now…
A: “The beauty of being at work in the music business is that I can get up every day and it never really feels like real work. I could spend days locked up here in my studio.”
Q: How do you choose which remixes to do?
A: “With remixes the first filter is my management, because they are really clever at deciding what might suit me, then I listened to everything that comes through the filter. I always choose based on the record, not on the artist.”
Q: Why do you think people come to you?
A: “I suppose it’s for the Disco, bassline thing with the big synths. I never wanted to ever compromise with my music and spoil it. But, on the other hand you have the labels that know me for a certain sound, and even the fans that expect a certain sound. I might try to change direction slightly, but you have to be sure that you still fulfil what people want.”
Q: You’ve been working with Xenomania and doing a lot more mainstream remixes…
A: “Yes, I went to the Xenomania base in Kent in the UK to meet Brian Higgins and it was amazing. There were all these amazing producers and writers all working together. I think when you’re making Electronic music you can often be working alone most of the time so to have this sort of environment was amazing. I’m an open guy and I love to share experiences and work with other people, because I think this is how you achieve the next level. But, I think this is because of my history as a player in bands and you have to work as a team.”
Q: What was your role there?
A: “I might be writing backing tracks, working with backing tracks that need changing or adapting, or even mixing exciting tracks like I did recently for Florrie. It’s really interesting because you get to be involved in all parts of the production. It properly makes you see the bigger picture and offers you much more humility working this way. You learn so much from the other people, older and younger.
“The young guys are fantastic because with experience comes routine in the way you do things, the rules whereas the young guys will just say ‘Why don’t we just turn the bass up into the red if it sounds good?’ But then the older guys will be able to go into detail about mic techniques, using classic gear and recording to tape, so everyone is bringing some of their knowledge. I go there for a week and work from time to time and I’ll send Brian tracks occasionally too.”
Q: What did you first work on?
A: “Probably the first track I worked on there was for Mini Viva, the track I Left My Heart In Tokyo. They gave me the vocal and I went from there.”
Q: How does that work? Where did the vocal come from? Was there a backing track that was scrapped?
A: ” Maybe, I don’t know. It might not have been scrapped, just they were searching for a new idea. Maybe they wrote the vocal on a pre-existing track and then when they get the vocal, they think that that track could be better, or different. When you’re working gon tracks it’s always worth changing when you discover a new part. For instance I might start with some chords and build a track, then as you start layering other musical elements, you might scrap those chords and start again, but the other parts spark other tracks and even better ideas. You can get stuck like this when you are working alone, because you just don’t have that second opinion. Working with Xenomania has made me spot these moments even faster and taught me not to over-think things.
“When it gets to the eleventh or twelfth take they are thinking about previous mistakes and how to correct them and you lose all the sould of the vocal. It’s the same with writing, it’s so much better to just get ideas down when they’re fresh. Usually with a remix, I’ll take two or three days but the first day is finding the music, the second day is getting the sounds and the third day is mixing. I have to be happy and excited when I’m making the tracks, otherwise something isn’t right.”
Q: How do you find mixing in your room, because it’s not really a treated studio?
A: “Yeah, I mean I’ve been here so long and used the NS10s for so long that it’s OK. I never really paid much attention to all this stuff really, I used to mix on an old ghetto plaster ten years ago. It’s only when I tried something better that I realised that there was a difference. It’s the same with outboard, I used to have an Alesis 3630 and I thought it was fantastic, now I have the SSL and it’s amazing, but then I try the Alan Smart and that’s amazing, but different. So I keep both and it goes on and on!”
Q: What’s next!?
A: “[laughs] Ha! Well sometimes I buy things because I feel like I’m missing a certain sound and sometimes it’s because I just love to switch up what I’m using. For instance I bought the ARP Solina because I was working on a project that used a Solina sample in it, I heard it and thought that sounded really cool. I love to switch equipment up too because I have the room here to store things too. I think I’ll probably buy the new Dave Smith and Roger Linn drum machine but mainly it’s about the combination of old and new. I love the CS-80 but I think if I use it too much it’s going to sound too retro. I actually use the Access Virus a lot. I’m just after the sound I love and it doesn’t always have to be this retro thing. I’m really not bothered if things have MIDI, are software, hardware or anything like that they are just way to create the music I like to make.”
Q: Plans for the rest of the year?
A: “I’m doing an American tour which should be good because I’ve done a lot of American Pop remixes. Hopefully it’ll help build a profile there. Also in September there’s a compilation of my remixes coming out which is really cool because I’ve done so many different tracks from Indie artists like Annie and Lykke Li to Ke$ha and Nicole Scherzinger.”
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The Yamaha CS-80
Fred Falke on everyone’s favourite poly synth…
“As people know, this model of synth is the holy grail of synthesizers. I only saw one before this in my life, but it was in a shop for refurbishment, not for sale. I had this big fantasy about the CS-80 and its sound but I had never played one. There was a few that came up on eBay but for silly amounts of money. Especially when you take in to account the shipping because the synth is well over 100kg in weight. I actually ended up finding this one for sale on a non-music classifieds site, like Gumtree.
“I think I was searching for synths or something but not the CS-80. When I saw it I just thought it was definitely a scam, but I sent the guy an email expecting a reply asking me to send money through Western union or something. But no, the guy replied saying it was in perfect condition and he as the second guy to own it. So it went on with me asking for pictures and a video and he kept sending what I asked for, so I began to think ‘hmmm’. He wanted 8,000 euros for it but I negotiated 6,000, but still it’s so much money. I’d never played one, and I was worried that I was going to be disappointed. But, I drove to Marseille and got it and when I finally played it I had a smile like a kid. It was really a feeling that I’ve never had before and I’ve used it on every single record that I’ve done in 2011. not because I’m obsessed by it, but the sound is so flexible. The Nicole Scherzinger remix I did of Don’t Hold Your Breath, has the CS-80 on the bassline and the pads, for instance.
“The controls and sound are so inspiring and the synth almost talks to you and just gives you the sound you want. I’ll sometimes stand in front of it for an hour just recording ideas to a backing track.”
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The Headphone Test
Fred’s unorthodox mix-check system
“Some people tune off their screen or have methods to stop them from looking at the music rather than listening. This is my way of listening to a track I’m making and seeing if I believe it could be a finished record. It really works! I play the track in Ableton, but listen on headphones while I watch the record go round and round. If I can imagine that the sound is coming straight from that vinyl, then I know it’s good enough to be a finished record!”
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Studio rundown
SSL Buss Compressor
“I have a few different versions of this, like the Alan Smart and such. They just provide that classic radio glue.”
Yamaha NS10s
“I have the Dynaudio speakers too for when I want that extra low end but I usually work on the NS10s.”
Neve VR rack
“These have been racked up really well, because all of the writing is actually the right way up. Usually with these racked channel strips you struggle to read settings. They have a really special sound and I love it!”
Univox Minikorg
“I bought this one because I saw it on the cover of this Japanese record I own, but I really fell in love with it. I even bought another because I use it all the time for everything from effects and sweeps to bass and leads.”
Moog Polymoog
“My friend has one of these and one night I tried it and the string sound alone sold it to me. The band Goblin had one and I remember just loving that sound.”
Roland TR-909
“I bought the 606 as my first drum machine, but when I started to really get into production I got the 909. It’s just the sound of House music. I sold one before but bought another later on because of the ride cymbal alone, the tuning of the ride just makes it perfect.”
ARP Solina String Ensemble
“The Solina is a classic and as far as I remember I fell in love with the sound of it from Herbie Hancock records initially. I do wonder why there’s an option to turn the modulation off though, because without it on it sounds like an awful trumpet sound.”
Korg Trident
The French Touch classic. I bought it initially because it was cheap, but really good synth. It always reminds me of the Scott Grooves, Mothership Reconnection, Daft Punk mix with the flanged synth-string sound.”
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All text and images belongs to Future Publishing Ltd.
… I recently went to a party…
Even though it’s pretty early in the text, you are probably already thinking, ‘Oh, I know where this is going!’, but before you get a chance to find out, let me present to you, a Random Trivial Interlude:
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Not only do I fight a guy in a red and blue jump suit, I'm also the cause of all the bad things in the world!
I was recently reading up on some conspiracy theories regarding 9/11, and if you thought the anti semitic theories naming the Jews as the collective mastermind behind the hijacking of the airplanes, wait till you hear this,
“…David Icke argues that reptilian, shape-shifting extraterrestrial humanoids are responsible for the 9/11 attacks. According to Icke, a reptilian global elite is behind all things that occur in the world.” – Wikipedia
… That is the most far out, bizarre thing I’ve ever read, and to think that some people actually believe in this sort of non factual speculation can be as mind-boggling as the entire theory itself. Now, to make something clear, I am 99 % of the time without prejudice when it comes to people’s personal believes, it’s a way for people as individuals to identify and recognize the world they live in, but extraterrestrial reptilians? Come on now, don’t be silly…
This has been, a Random Trivial Interlude.
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Onwards, and back to me at the party. Here’s a little background information for you, arranged in small nifty points:
- It was a private party
- There was a little over a hundred guests present, with the gender ratio being about 1:1
- The “bar” was run by two blokes, at least at the beginning of the party, and neither of them could make a cocktail/ drink without looking at a small laminated pamphlet literally and appropriately named “Drinks for Dummies!” with capital D’s
- Lastly, the “DJ” was the hosts little brother, meaning that there was no specific setlist. I should also note that I use the term DJ lightly, because even though he had two CD players and a DJ mixer in front of him, what he found to be among the most amusing things in the entire catalog of functions was the flanger effect.
My point is, it wasn’t in any way a professionally hosted party, it was more of a ‘Hey everyone, there’s a party at my house! Free liquor!’
During the party however, I had one major issue, and that was the fact that all the music that were being played was either a) very deep, and very bland house music; the kind that goes, *thump – *thump – *thump, *bli-blip – *thump, *thump – *thump, *bli-blip… and so on, or it was b) Pop music that was only being played because it was popular having otherwise no real purpose at a party. Despite the fact that I want to seem as reliable as possible, I can’t really give you any specific track names, because it all seems like a blur to me at this point; not because I had too much to drink, but simply because I don’t really care for such music.
However, later that night, when all the guests had met and were all a bit on the flipside [Drink responsibly, kids!] I decided, with an urge to challenge the influence of pop music, to walk up to the “DJ”, and ask him if I could choose the next number, which he agreed to. I decided on Stardust – ‘Music Sounds Better With You’ seeing as it’s a renowned certified makes-you-want-to-dance track, and I thought that the crowd would have mercy on me.
Oh, was I wrong.
Approximately half a minute into the track, two girls walked up and one said, I quote, ‘Hey, I don’t know that song, why are you playing that, it’s not interesting? Put this on!“, and she pulled the mini jack cable out of my iPod and into hers, and the next minute we were all listening to Beyoncé – ‘Sweet Dreams’ or whatever it’s called.
First of all, why Beyoncé, and why that specific song? It’s not a party song, it’s not interesting, it’s just Beyoncé singing about trivial stuff she’s been singing about for years now.
Secondly, I can not believe that people are so biased when it comes to new/ unknown music, and disregard it so quickly. I mean, I don’t have a problem with people listening to different music than me as long as they can explain to me what they like about that style of music. And that’s where the film breaks in this one. This girl would not be able to explain to me why she chose that song. Not that I asked her, but if I did, all she would give me would be a generic answer along the lines of, “It has a nice beat… And Beyoncé is a good singer”, and the opposite to explain why we shouldn’t listen to Stardust.
From my point of view, the truth of the matter is that the youth of today is not capable of saying, “I like this” or “I like that”, because they get filled with pop music that is made for one reason, and one reason only: To be addictive, and to sell. Almost none of the artists that you see on TV or hear in the radio today came into the studio and said, “You know what? I got a great idea for a track I want to make; I feel inspired”. No, instead they intentionally make tracks that are meant to be successful. I can see why, everyone wants to earn a buck or two, but it diminishes artists who make music because they feel that they have something creative to bring to the table, and not just because they have the mainstream crowd to please.
With a massive overflow of this sort of pop music, it gets jammed so hard into people’s subconsciousness that not even Leonardo DiCaprio and his Inception dream team is able to get it back out. Not only does this type of music stick to your brain and make you hum the same notes over and over, it also gives people the idea that addicting music is good music. Music can be both, but a lot of pop music is just the former of the two, and people’s ability to judge lyrics and instrumentals are majorly hindered by the addictive nature of these tracks. This monogenous relationship to music is most likely going to affect the future of the business in such a way, that not only will this kind of music dominate, it will act like a dictatorship. I honestly feel like the pop music is slapping me in the face with glove that has a brick inside of it, cartoon style.
I don’t know. I kind of gave up on the party afterwards. Not that I left, but I stopped caring.
Now, to finish something that got held off by a Beyoncé loving girl,
Stardust – Music Sounds Better With You
I’m a little angry right now, so I’m going to stop writing…
I recently discovered what hell sounds like… I know it might seem like I’m overreacting, but in fact, I am quite certain that when my body and cells decide to give up on me, and I enter the fiery realms of hell, this piece of “music” is going to be played on several giant speakers in a never-ending eternal loop.
Let me take you back to the beginning:
Many moons ago I was casually minding my own business. In fear of the disturbing images that ran through my head at the same pace of The Roadrunner, I decided to turn on the TV so that it could keep my mind off of my own business. After browsing through several re-runs of late 70′s/ early 80′s shows I ended up on the regional pop music channel, and what I saw, was this:
“Okay”, I thought “I’ll just stay put for a few minutes and find out how generic this song is.” – and boy was I in for a surprise.
Let’s start with the intro of the track. That’s probably some of the worst build-up I’ve ever heard. You get these grim low-key synths, like you’re in for a “dirty” piece of gangsta rap, but all of this is torn apart when a squeaky and annoying synth jumps in, and 10 seconds later we’re already halfway through the chorus of a cheesy love song. This move is equally as bad as false advertising, and putting it in perspective, imagine playing some fast techno stabs and then suddenly switching over to Daft Punk – Digital Love; It makes no logical or musical sense.
But what really kills the track are the lyrics. Here’s a copy of the first chorus and verses,
Baby you know that I miss you, I wanna get with you tonight
But I cannot baby girl and that’s the issue
Girl you know I miss you, I just wanna kiss you
But I can’t right now so baby kiss me thru the phone, I’ll see you later on
Kiss me thru the phone, see you when I get homeBaby I know that you like me, you my future wifey
Soulja Boy Tell ‘Em, yeah
You can be my Bonnie, I can be your Clyde
You could be my wife, text me, call meI need you in my life, yeah all day everyday I need ya
And every time I see ya my feelings get deeper
I miss ya, I miss ya, I really wanna kiss you but I can’t
Six, seven, eight, triple nine, eight, two, one, two
The chorus I can comprehend. After all, it’s a love song, and usually the chorus is what sums up the basic idea of a track. However, the verses (sigh) are very poorly written and contain no creativity whatsoever. They are literally out of content and any sort of deeper meaning, and it becomes apparent after the first verse where he in the first line under the influence of euphoric love states that the woman is going to be his wife; this comes just before the 4th line where he again states that the woman could/ should be his wife. So, already now we have a verse where we got absolutely no information of importance, because the 2nd line is random filler text, and even though the 3rd has potential, seeing as Bonnie & Clyde were a relatively interesting couple, it’s never followed up on, so I’ll have to pass this as filler text too.
ISouljaBoyTellEm
As seen above, the second verse is basically the same. It flat out repeats the chorus saying that he misses his girlfriend, and that he wants to kiss her. Now, I’m no fancy music producer/ song writer, but the artist(s) could at least show that they give a damn about their music, and at least try to tell us something which has not already been said in the chorus or can be summed up with the three generic words, “I loe U”.
Something that also seems to bother me is the fact that he sings/ raps about how he can’t be with his girlfriend, yet he’s just sitting around playing poker with his friends. I mean, is he trying to win his life savings back or something? It can’t possibly be that important, so why not take the time out, and spend the night with the woman he wants to be with so badly?
If you made it all the way down here, you might recall that I mentioned hell earlier. What’ll be playing in hell becomes apparent at the 2:22 mark of the song. Here the writers simply gave up and said “f*ck it, I got nothing”. It seems that they in need of inspiration tuned into ‘Playhouse Disney’, and watched a couple of minutes of educational children songs before thinking, “You know what will fit nicely into ‘Kiss Me Thru the Phone’? Random vocabulary exercises, but with the function of actual lyrics!” These seconds of absolute rambling adds nothing but utter annoyance to the song, and I can’t wrap my mind around fact that they were serious when they wrote this. It’s a very bad signal to send to your listeners, and that’s primarily because of the fact that it goes on, and on, and on, and on. Lady Gaga is also big on these sorts of rambling with words that mean nothing, but she doesn’t throw it all into two verses (Although ‘Bad Romance’ can be argued otherwise); instead she places it in small dozes all over the place, like sprinkles on a cake.
I got nothing more to say about this piece of “music”. The horrendous writing gives away the fact that the song was made with the sole purpose of being a lucrative ringtone that was supposed to be heard in the halls of every high school in existence; telephone is even a part of the song title. I should note, however, that I don’t hate all hip-hop music, so don’t take me for a hater. I gave my reasons as to why I hate this song, and that should be respected.
But for now, I’m going to listen to something that in a charming fashion sums up the entire lyrics of ‘Kiss Me Thru the Phone’ in only four simple words.
The Paradise – In Love With You
I’m going to be a little egocentric in this post, which means that words like “I” will appear a lot.
As of today I’ve been operating on YouTube for a year straight. I got to say that this process has been a lot of fun, and I’ve ‘met’ a bunch of interesting people; including a couple of artists who actually contacted me. Joy!
Currently I rank at 180 subscribers, which is a very small margin in context, but honestly I don’t care. I mean it’s nice with some sort of followers, but the original (and current) intention with the channel was to supply YouTube with tracks that at the time of the posts weren’t available to the YouTube audience.
I myself hated it when I heard of a track and wanted to listen to it, but it was nowhere to be found, and I bet a lot of people feel the same, especially people with whom I share the same taste in music.
One year ago I was very strict with what I needed to post, and that compulsive urge spawned a ‘notepad’ schedule, which I’ll attach at the end of this. At the time I basically uploaded a track every week day, but today I try to keep a decent space between posts, and that’s mostly due to the fact that I would run out of material to post if I weren’t. You’ll notice how I gradually ‘forgot’ to update and alter the notepad, and that later led to its abandonment.
Thank you all for the good times, and I’ll keep posting material till I lose interest or die (which shouldn’t happen anytime soon)
Notepad;
POST WORTHY MUSIC[All tracks posted are property of their respective owners]- text – = Postedtext + = Video Available<text> = Already Posted/text/ = Cancelled- Aloud – Bob O’Lean (Club Mix) – +- Axel Le Baron – Rock And Doll – +- Axel Le Baron – Run – +- The Phantom’s Revenge – Saturated Phat Impact (Treasure Fingers Edit) – +- Revolte – 150 Hz – +- Digitalism – Zdarlight / I Want I Want (Live) – +- Defender – Defender – +- Motorbass – Deux Trente Trois – +- Alan Braxe – Haze – +- Alan Braxe & Fred Falke – Automatic – +- Daft Punk – Around The World (RAW Dub) – +- Daft Punk – Around The World (Mellow Remix) – +- Thomas Bangalter – Night Beats – +- Bangalter Edit)> – +- Thomas Bangalter – Live @ We (Part 1) – +- Thomas Bangalter – Live @ We (Part 2) – +- Thomas Bangalter – Live @ We (Part 3) – +- Thomas Bangalter – Live @ We (Part 4) – +- Thomas Bangalter – Live @ We (Part 5) – +- Thomas Bangalter – Live @ We (Part 6) – +- Thomas Bangalter – Live @ We (Part 7) – +- Thomas Bangalter – Live @ We (Part 8 ) – +- Thomas Bangalter – Live @ We (Part 9) – +- Thomas Bangalter – Live @ We (Part 10) – +- Thomas Bangalter – Live @ We (Part 11) – +- Savage – Racer – +- Savage – Fifty One – +- Play Paul – Once U Go (Club Version) – +- Play Paul – Once U Go (Dub Version) – +- Play Paul – Once U Go (Radio Edit) – +--Break———————————————————————————————–--- <The Twelves – Nightvision> – +//// Kanye West – Stronger (A-Trak Remix) / +- Inventus – On The Phone – +- Revolte – Unit 1 Lesson 2 – +- Revolte – Fucking On Music – +- Imagination – Changes (Dimitri From Paris is Nightdubbin’ Remix) – +- Fred Falke – Essential Mix (Part 1) – +- Fred Falke – Essential Mix (Part 2) – +- Fred Falke – Essential Mix (Part 3) – +- Fred Falke – Essential Mix (Part 4) – +- Fred Falke – Chicago (Feat. Teff Balmert) – +- Fred Falke – Back To Stay – +- Fred Falke – Essential Mix (Part 5) – +- Fred Falke – Essential Mix (Part 6) – +- Falke – 8:08 pm @ The Beach> – +- I:Cube – Picnic Attack – +- High Life – Too High – +- Junior Jack – Rocktron (Extended Mix) – +- Fantom – Faithfull (Minimix Par Etienne De Crecy) – +- Acapella)> – +- The Eternals – Wrath of Zeus (Zeusapella) – +- The Killers – Mr. Brightside (Acapella) – +- Cassius – Rock Number One (Acapella) – +- Basement Jaxx – Oh My Gosh (Acapella) – +- Patrick Alavi Pres. Basstard Slayerz – Goldbass – +- Daft Punk – Emotion (Werewolf By Night Remix) – +- Digitalism – TV TV – +- Fred Falke & Busy P – Rob Da Bank 09-03 – 09 (Fred Falke – Part 1/1) – +- Fred Falke & Busy P – Rob Da Bank 09-03 – 09 (Fred Falke – Part 2/2) – +- Fred Falke & Busy P – Rob Da Bank 09-03 – 09 (Fred Falke – Part 3/3) – +- Fred Falke & Busy P – Rob Da Bank 09-03 – 09 (Fred Falke – Part 4/4) – +- Fred Falke & Busy P – Rob Da Bank 09-03 – 09 (Fred Falke – Part 5/5) – +- Fred Falke & Busy P – Rob Da Bank 09-03 – 09 (Fred Falke – Part 6/6) – +- Fred Falke & Busy P – Rob Da Bank 09-03 – 09 (Busy P – Part 1/7) – +- Fred Falke & Busy P – Rob Da Bank 09-03 – 09 (Busy P – Part 2/8) – +- Fred Falke & Busy P – Rob Da Bank 09-03 – 09 (Busy P – Part 3/9) – +- Fred Falke & Busy P – Rob Da Bank 09-03 – 09 (Busy P – Part 4/10) – +- Fred Falke & Busy P – Rob Da Bank 09-03 – 09 (Busy P – Part 5/11) – +- Fred Falke & Busy P – Rob Da Bank 09-03 – 09 (Busy P – Part 6/12) – +- Together – So Much Love To Give (Daft Mafia Rework) – +- Daft Mafia – I Feel So - +- Alan Braxe & Fred Falke – Time Out – +- Daft Punk – Plastic Paradise [Fake] – +- Sugababes – Girls (Fred Falke Remix) – +- Menace & Adam – Missile Test (Extended Mix) – +- Menace & Adam – Missile Test (Fred Falke Remix) – +- Vinyl Fever – Electronic For Children (Original 909 Edit) – +- Vinyl Fever – Electronic For Children (Warriors Groove Mix) – +- Vinyl Fever – Electronic For Children (Modulation Edit) – +- Mlle Caro & Franck Garcia – Take Off (Revolte Remix) – +- Romanthony – Hold On (R&B Vocal) – +- Romanthony – Samedream – +- Miami Horror – Bellevue – +- Miami Horror – Illumination - +- Aloud – Sex & Sun Part III – +/ Kleeer – I Love To Dance / +- Patrick Alavi – Over Funk – +- Patrick Alavi – Rollin’ – +- Patrick Alavi – Spartacus – +--Break———————————————————————————————–-- Palermo Disko Machine – Vesuvia- Palermo Disko Machine – Theme of Palermo Disko Machine-- Digitalism – The Pulse [Live] – +- Fenech Solér – Lies (The Phantom’s Revenge Remix) -- Gile – Let’s Rock – +- Gile – Moneytown – +- Gile – Superstar – +- Revolte – Bonnie & Clyde – +- Supertroels – Cut Me Up – +- Shadow Dancer – The Bad Thing – +- Stardust – Music Sounds Better With You (DJ Sneaks 32 On Red Mix) – +- Stardust – Music Sounds Better With You (DJ Dupré Rework Mix) – +- Revolte – Fucking On Music (Radio Edit Clean) – +- En Masse – Paura – +- Funk Legacy – What You Gonna Do Baby – +- Digitalism – Essential Mix 15-7-07 (Part 1) – +- MissingNo – A Seducer’s Gift- Digitalism – Essential Mix 15-7-07 (Part 2) – +- Music Go Music – Warm In The Shadows (Fred Falke Remix) – +/ Digitalism – Essential Mix 15-7-07 (Part 3) + // Digitalism – Essential Mix 15-7-07 (Part 4) + // Digitalism – Essential Mix 15-7-07 (Part 5) + // Digitalism – Essential Mix 15-7-07 (Part 6) + // Digitalism – Essential Mix 15-7-07 (Part 7) + // Digitalism – Essential Mix 15-7-07 (Part 8 ) + // Digitalism – Essential Mix 15-7-07 (Part 9) + // Digitalism – Essential Mix 15-7-07 (Part 10) + // Digitalism – Essential Mix 15-7-07 (Part 11) + // Digitalism – Essential Mix 15-7-07 (Part 12) + /- All Thieves (Fred Falke Vocal Mix) -- All Thieves (Fred Falke Instrumental Mix) -- Revolte – Ironical Sexism (Orignal Mix) (?) – +- Ian Pooley – Loopduell 1 (Funk D’Void “On Guard” Mix) – +- Ian Pooley – Loopduell 1 (Alan Braxe Mix) – +- Alan Braxe & Fred Falke – You’ll Stay In My Heart (Feat. Savage) / Instrumental -- Gile – La Senorita Del Abanico -- Gile – Digital Diamond -- Gile – Darlin’ -- Gile – Sugar Boogie -REC – Link N’ RingsAlan Braxe – July 2008 Promo Mix (Part 1)Alan Braxe – July 2008 Promo Mix (Part 2)Alan Braxe – July 2008 Promo Mix (Part 3)Alan Braxe – July 2008 Promo Mix (Part 4)Aloud – Lost Angeles Resurrection (Featuring Raw Man) +Werewolf By Night – You Can Countach MeLe Knight Club – Tropicall (Daft Mafia Remix) +La Funk Mob – Poem of DarknessAir – Sexy Boy (Cassius Remix)DoF – JanuaryDoF – JuneDoF – JulyDoF – AugustDoF – SeptemberDoF – OctobersGile – StarnightCandese – You Took My LoveCandese – You Took My Love (Earth Mix)Candese – I Need SomebodyCheek – Venus (I:Cube Remix)Alan Braxe Feat. Killa Kela & Fallon – Nightwatcher (Show Me)(Radio Edit)Alan Braxe Feat. Killa Kela & Fallon – Nightwatcher (Show Me)(Tony Senghor’s Night Vision Edit)Alan Braxe Feat. Killa Kela & Fallon – Nightwatcher (Show Me)(Tony Senghor’s Night Vision)Alan Braxe Feat. Killa Kela & Fallon – Nightwatcher (Show Me)(Tony Senghor’s Who Watches The Watchmen Remix)DJ Falcon – Live @ Banana Split 2 Year Anniversary 11-2-08 (Part 1)DJ Falcon – Live @ Banana Split 2 Year Anniversary 11-2-08 (Part 2)DJ Falcon – Live @ Banana Split 2 Year Anniversary 11-2-08 (Part 3)DJ Falcon – Live @ Banana Split 2 Year Anniversary 11-2-08 (Part 4)DJ Falcon – Live @ Banana Split 2 Year Anniversary 11-2-08 (Part 5)Revolte – Fucking On Music (Rock da Music Remix) +Play Paul – All MineThe Julia Set – Catch Your Pain (Original Mix)The Julia Set – Catch Your Pain (Amelot Remix)The Julia Set – Catch Your Pain (Seven Dub Mix)Dimitri From Paris – Live Jazz (MAW Remix)Patrick Alavi Pres. Basstard Slayerz – Goldbass (Thomas Gold Remix)Patrick Alavi Pres. Basstard Slayerz – Goldbass (Noir Remix)Patrick Alavi Pres. Basstard Slayerz – BirthdayMawkish – Baba
